which is one of the weak points in modern theatrical criticism.
This, too, must be granted, that it was to these boy-actors that we owe the introduction of those lovely lyrics that star the plays of Shakespeare, Dekker, and so many of the dramatists of the period, those “snatches of bird-like or god-like song,” as Mr Swinburne calls them. For it was out of the choirs of the cathedrals and royal chapels of England that most of these lads came, and from their earliest years they had been trained in the singing of anthems and madrigals, and in all that concerns the subtle art of music. Chosen at first for the beauty of their voices, as well as for a certain comeliness and freshness of appearance, they were then instructed in gesture, dancing, and elocution, and taught to play both tragedies and comedies in the English as well as in the Latin language. Indeed, acting seems to have formed part of the ordinary education of the time, and to have been much studied not merely by the scholars of Eton and Westminster, but also by the students at the Universities of Oxford and Cambridge, some of whom went af-
